Standard tuning (E A D G B e) — 168 chords · click any chord to hear it · tune up first
Space play/stop · Enter new loop (switches at the next bar while playing)
Key of D# major · solo over it with D# major pentatonic →
The bright, stable foundation of most songs: root, major third, and fifth. When a song simply names a chord ("C", "G"), this is it.
The moodier counterpart to major: the third is lowered a half step, which turns bright into melancholy. Written with a small "m".
A major chord plus a flattened seventh. The added note creates bluesy tension that wants to resolve — classically to the chord a fourth up (G7 pulls to C). Essential for blues, jazz, and rock 'n' roll.
A major chord with the natural seventh on top. Dreamy, soft, and jazzy — think bossa nova, soul ballads, and lo-fi.
A minor chord with a flattened seventh added. Smoother and mellower than plain minor — the backbone of funk, soul, and jazz rhythm playing.
A dominant 7th with the ninth stacked on top. Funky and full — the classic James Brown chord.
A major chord with the sixth added. A sweet, vintage color — common in early rock, country, and jazz endings, where it can replace the plain major as a final chord.
A minor chord with a major sixth added. Bittersweet and a little mysterious — a film-noir and gypsy-jazz favorite.
"Suspended" chords drop the third, so they are neither major nor minor. Sus2 replaces it with the second for an open, airy sound — great for letting a progression breathe.
The other suspended chord: the third is replaced by the fourth, which hangs in the air until it resolves back to the major chord. Listen to the intro of "Pinball Wizard".
A major chord with the ninth added while keeping the third — unlike sus2, the chord stays clearly major. A shimmering pop and acoustic staple ("Every Breath You Take" runs on add9 shapes).
Stacked minor thirds all the way up: tense, dramatic, and unstable. Used as a passing chord between two stable ones — and every shape repeats every three frets.
A major chord with the fifth raised a half step. Unsettled and dreamlike, it wants to move somewhere — often used to climb between chords a whole chord apart.
Just the root and fifth — no third, so neither major nor minor. Born for distortion: the rock and punk workhorse, usually played on the low strings.